lydianchromaticconcept.com

The main body of the LCC and its practical application, including all 4 published versions of Book 1 with their inserts: the 1959 tan cover; the 1959 light green cover Japanese edition; the 1970‘s white cover, which adds an illustrated River Trip to the 1959 edition, and the currently available Fourth Edition, 2001.

The authorization code is the first word on Page 198 of the Fourth Edition of the LCCTO.

Forum rulesAn open letter from Alice Russell. June 21, 2011, Brookline, Massachusetts.1. DO NOT make insulting, mean spirited remarks about anyone or their work; there are a plethora of sites where you can rant unfettered. If you attack someone personally, your comments will be removed. You can post it, but I'm not paying for it. Go elsewhere, and let those artists who are actually interested in discussion and learning have the floor. 2. There will be NO posting of or links to copyrighted material without permission of the copyright owner. That's the law. And if you respect the work of people who make meaningful contributions, you should have no problem following this policy. 3. I appreciate many of the postings from so many of you. Please don't feel you have to spend your time "defending" the LCC to those who come here with the express purpose of disproving it. George worked for decades to disprove it himself; if you know his music, there's no question that it has gravity. And a final word: George was famous for his refusal to lower his standards in all areas of his life, no matter the cost. He twice refused concerts of his music at Lincoln Center Jazz because of their early position on what was authentically jazz. So save any speculation about the level of him as an artist and a man. The quotes on our websites were not written by George; they were written by critics/writers/scholars/fans over many years. Sincerely, Alice

Hi all, IÂ´m new in town, IÂ´m from Argentina, South America. I reading the book and everything itÂ´s really great for me but I donÂ´t understand something about Secondary Modal Genre. In page 129 of 2001Â´s edition there is an example of the use of SMG made by John Coltrane over Thelonious MonkÂ´s Straight No Chaser. It says: "...In bar 2, a Db Lydian Augmented Scale SMG fragment is sounded within the context of a Bb7/Ab LC Scale Alliance. Here, the PMG II seventh chord (Bb7) is treated as if it were a PMG VI mino chord (Bb minor chord). Roman numeral VI is not one of the AMT degrees listed in the PMG II seventh chord category on Chart A, therefore the Db Lydian Augmente Scale fragment ocurring in bar 2 is viewed as an example of the SMG option. .."Why over a Bb7 one can use a Db Lydian Tonic, where it belongs? I really canÂ´t understand this example, please help!! Thank you

Secondary Modal Genres are disscussed a couple of pages after the Coltrane Solo. You should find information about it there. Even more information about Secondary Modal Genres will be discussed in Volume two.

IÂ´m working with the tune Just Friends, and in bar 11 and 12 there is a progression Bm7-Em7. In the first chord I use the VI degree of D AD Scale and in Em7 the same scale because in the construction of the scale exists the notes of the chord (D-E- F-G- Ab-Bb-B-Db). Is this a SMG of the D LC Scale? IÂ´m understanding the concept of that?

I donâ€™t think it is necessary, for your purposes, to try to make the Emi7 chord a SMG. Since both Bm7 and Em7 belong to PMG VI, why not experiment with using the eleven member scales (see page 82 for a list) based on their Lydian Tonics? There are many choices but when you are first learning the Concept it is a good idea to get a good grasp on the more ingoing tonal orders(see page 14) before experimenting with the more outgoing.